It was such a sweet episode. It’s really easy and enjoyable to watch without overthinking it. But morally speaking… lol, I felt a bit embarrassed for the poor boy because of some slightly humiliating situations he had to go through. It’s worth noting that here the roles were reversed: usually it’s young mothers who don’t have time to take care of themselves, exhausted from juggling work, household chores, and children… while the husband comes home from work looking flawless, socializing only with equally flawless people. Meanwhile, when the mother comes home, she’s no longer that perfect little doll. Times are changing. But the girl is kind-hearted: her desire to take care of the child despite her own struggles is a good thing. It’s better than leaving a child in an orphanage or somewhere else… Sometimes that kind of responsibility forces us to grow up and become more mature. We’re not always born responsible parents — that’s something we also have to learn. What I really didn’t like is that she stood him up at the last minute, showing her unreliability of character, whereas the male lead is usually very dependable — when he commits to something, he does it; otherwise, he doesn’t take it on at all. I understand that this can happen to anyone, but she could at least have told her boss the truth at that moment and done something, especially since it was for the boy’s career. In reality, in many couples with children there’s always this imbalance: one person puts the child first and tries to juggle everything with their career, while the other prioritizes their career, knowing the other one will somehow manage anyway. I’m not generalizing, of course, but still…
He’s the classmate, the first love, the boss, and the landlord… In the next episode, it’ll turn out that even Santa Claus is him — and that’s how it’s always been! 🤣
Don’t tell me they’re going to fall in love after episode 4… The guy was already slowly getting attracted without even realizing it, ever since they fell together with the lamp… It’s just that they’re going to realize it little by little
You’re completely right, I think the same. He is competent enough to enforce justice and save his royal family from a possible revolution, overthrow, or civil war, but not to reign.. and Fl also... However, if the king dies, I don’t see who would succeed him otherwise (the ML’s mother? I don’t think so). So the king would be wise to take control as soon as possible—it would also be morally very appropriate for a K-drama hihi. The two brothers will finally find some common ground, the minister will die along with his son, and as a result, SML will either die too or end up in a well-placed position in the palace
The prince isn't perfect though. He's perfect when it comes to love but not outside of that, he doesn't start…
Please don’t take my words the wrong way; my intention is entirely friendly. But clearly, we’re not on the same page regarding my intentions, so let me explain. From the very beginning, regarding the prince, I mean that he is a kind, cute, green-flag, generally adorable character—one we’ve seen hundreds of times in dramas. I think, with some nuanced differences, you could probably also give me 50 examples of similar main male leads. That said, I find the story initially presented between Im Jar I and the heroine quite refreshing as a main plot (let me explain: especially this social class dynamic in a historical context, the fact that she was married into his household, that neither of them comes from a noble lineage, that one is ambitious from the start and the other altruistic, etc.). However, the fact that it remains in a love triangle makes it too predictable: the second male lead will, in the best case, end up sacrificing himself for the female lead, or it will be some other banal version of the second lead that we’ve already seen. I’m saying all this lightly and without pretension, since the series isn’t finished yet—we might still see a surprising twist in the writing. Below, I wrote some possible endings from my perspective… I’m not looking for anything; I’m just analyzing what I’m watching. This doesn’t prevent me from watching the series with interest
it seems like you are a closeted script writer, so why dont you write a script for what you want. Food for thought…
Haha ... Maybe I’m already whipping up some food for the soul… definitely not drama scripts! 😏 Honestly, that’s an insanely tough job, with the endless flood of scripts and how often they’re churned out. Analyzing one thing, creating something new is a whole other beast… but without analyzing, there’s zero chance of creating anything at all.
Your version totally makes sense!! However, my gut feeling tells me the couple will probably choose freedom outside the palace, closer to the people… Let’s meet again at the end to see which version gets validated — or whether they come up with yet another one we didn’t even think of. The real question here is the king… Will he be able to get his life back on track, or is he going to self-destruct?
The prince isn't perfect though. He's perfect when it comes to love but not outside of that, he doesn't start…
Sorry, but you’re not going to convince me about the prince’s “initial problems.”🙂 He’s still a cute little teddy bear… sweet to literally everyone. He doesn’t really have a proper redemption arc, because most of his “issues” were more about his status and his relationship with his brother — especially the whole “go live your life incognito so no one even notices you exist” situation. As for the anti-hero angle… if I want to emotionally flourish with anti-heroes, I’ll go watch Raging Bull by Scorsese, or A Streetcar Named Desire, etc., etc. — the list is endless 😉 Not a random miniseries. My point was mainly that the initial concept of this project — and the casting of this actor — were absolutely perfect for developing something deeper in that direction, instead of going down the super predictable path we all know by heart, the one that doesn’t bring much substance.
The writer and the director had all the ingredients in their fridge to cook up a true gourmet masterpiece… However, I’ll also take a street-food style pizza — but in that case, please keep either the chicken or the fish, not both. (I’m tired of love triangles.) 😄
Thanks for your analysis I was having exactly the same thoughts the classic narrative about a rebellious gentle…
In this specific case, I find that the two cannot coexist, because clearly the prince wins all the points. Otherwise, in the opposite scenario, we would end up in a tragic ending. However, they could have done it without the prince, right? It’s just the story of these two families...
What can I say, my crush of 2026 lol ! I usually don’t watch mini-series, but after the series “Affinity” I was completely blown away by his presence, his acting, how he portrays chemistry — it’s on an astronomical level. I mean, in this regard ( hot) , he’s the best in China.
BUT it’s not just that. I want to say he could perfectly play a psychopath (and by the way, he does it very well), a maniac , anti-hero, hero, … In “Liars in Love” he is so charismatic, with a presence comparable to Ahn Hyo Seop in Business Proposal (I’m speaking only about his role). In the mini-series “How to Trane Your Killer” he shows a completely different, charming character — both in a somewhat warrior-like role and in the skin of a very convincing woman (all done lightly). In “Lighter & Princess ” he plays a secondary “villain,” but his transformation is remarkable.
In the very bizarre mini-series “Gorgeous Dream” he even manages to find the exact way to portray his character — another historical mini-series, but still very different from the roles he has done before.
In short, among everything I’ve watched, there isn’t a single role that’s the same, and every time his performance is spot-on and charming. A versatile actor, I’m now fully following him in hopes he lands interesting projects with good writing, directors, and co-stars… Let’s watch closely and keep our fingers crossed for him.
What can I say, my crush of 2026 lol ! I usually don’t watch mini-series, but after the series “Affinity” I was completely blown away by his presence, his acting, how he portrays chemistry — it’s on an astronomical level. I mean, in this regard ( hot) , he’s the best in China.
BUT it’s not just that. I want to say he could perfectly play a psychopath (and by the way, he does it very well), a maniac , anti-hero, hero, … In “Liars in Love” he is so charismatic, with a presence comparable to Ahn Hyo Seop in Business Proposal (I’m speaking only about his role). In the mini-series “How to Trane Your Killer” he shows a completely different, charming character — both in a somewhat warrior-like role and in the skin of a very convincing woman (all done lightly). In “Lighter & Princess ” he plays a secondary “villain,” but his transformation is remarkable.
In the very bizarre mini-series “Gorgeous Dream” he even manages to find the exact way to portray his character — another historical mini-series, but still very different from the roles he has done before.
In short, among everything I’ve watched, there isn’t a single role that’s the same, and every time his performance is spot-on and charming. A versatile actor, I’m now fully following him in hopes he lands interesting projects with good writing, directors, and co-stars… Let’s watch closely and keep our fingers crossed for him.
Regarding the second male character, he is very well written and clearly has strong potential. However, we all know how this usually ends: he will likely be reduced to a standard, two-dimensional secondary character typical of many dramas. And that is a real shame. It feels like a waste to confine such a well-crafted character to this role, standing in the shadow of the prince, when he could easily sustain his own story.
Here, I do not intend to analyze or criticize the prince’s character. He is, in fact, well written and well performed. But imagine the series without the prince ... Imagine a narrative centered on an anti-hero: Im Jae I and Hong Eun Jo, far from the palace, focusing instead on a raw social and psychological confrontation.
We have seen countless “charming princes” before—overused, idealized, almost too gentle and predictable. What could have made this story truly compelling is its moral complexity: an anti-hero who cannot let go of his social status or power, trapped by his family... His frustration is then projected onto someone who mirrors him, yet who dares to assert his position, remain loyal to his principles, and show genuine empathy.
This approach could also have allowed for a passionate love story from the very beginning—something far more cinematic in tone. Frankly, I am tired of love triangles that exist solely to artificially elevate the female lead, when she does not need that validation at all. More often than not, these narrative devices only generate frustration.
A perfect prince is easy to love because he challenges us nothing — he makes us dream, and that appeals to a wide audience. A complex man, on the other hand, disturbs; he sparks debates, makes you ask why, makes you think. But the purpose of most shows is to switch off your brain — they should never force us to think, to judge, or to question ourselves. Damn. Well, crap!
p.s: That was just a side note, otherwise I like the series :=)
version 1 – Modern fairy tale version: Yi Yeol helps his emperor brother, with the help of Hong Eun Jo, to heal and find the path to redemption, and to return to his people (thus Yi Yeol does not betray his family by allying himself with the revolutionaries). After that, he leaves to live peacefully with Hong Eun Jo somewhere outside the palace. They found a hospital for children and an orphanage. Im Jae I dies by sacrificing himself to save them.
Version 2 – Fairy tale version 2: The emperor dies, either from illness or by taking his own life. Yi Yeol becomes emperor, and Hong Eun Jo becomes empress. In fact, she is not her mother’s biological daughter but the daughter of a noblewoman; her status and nobility are restored.
Version 3 – Dramatic version 1: Yi Yeol becomes emperor because his brother dies, and after the revolution he ascends the throne. However, Gil Don does not want to return to the palace, even though she helps him become emperor. In the end, she chooses the people and dedicates herself to helping them, while he is bound by his duties to the state. He marries Sin Hae Rim, and they are not truly together. Im Jae I still dies.
Version 4- Yi Yeol manipulates both the royal court and the revolutionaries. He becomes emperor. Hong Eun Jo refuses the title of empress and runs an independent medical hospital. They remain together, but never officially. Im Jae I becomes Minister of Justice, seeking redemption.
And version 5 Yi Yeol is declared a traitor by the remnants of the court and officially recorded as dead. In reality, he disappears. And with Hong Eun Jo: treating a child in a remote village...
Nam Ji Hyun doesn’t repeat the same type of roles when she chooses projects. Both Hong Eun-jo and Hong Gil-dong…
I completely agree with you. I’d also add that Moon Sang Min is a very promising young actor — he’s sensitive,! has a noble presence, and plays his role well on his own, but opposite the female lead, it just doesn’t quite work. I mean, the result isn’t wow.
As for Nam Ji Hyun, I also loved her in 100 Days My Prince, and the couple worked very, very well in that role. There are actually some parallels with this role for Nam Ji Hyun ;)
You’re overthinking the age factor when it’s not even noticeable. As a viewer, it didn’t bother me at all.…
I get what you’re saying, but I think we’re actually talking about two different levels.
When I mention age or “maturity,” I’m not questioning the coherence of the narrative or implying it’s a mistake. I’m talking about reception and perception, not intention. Of course the youthful aura of the prince can be a conscious narrative and styling choice tied to his status — I don’t deny that at all.
My point is that the writing of the character is emotionally and psychologically very mature, especially when placed next to a strong, adult heroine. That creates an interesting tension: the character thinks and acts like someone older, while the actor’s physical presence and youthful energy sometimes read differently on screen. That gap isn’t a flaw, but it does affect how the relationship is perceived.
That’s why I brought up casting hypotheticals. Not to “fix” anything, but to explore how different choices would shift the drama’s tone, target audience, and critical weight. A more mature male lead would push it toward a heavier, more prestigious drama; younger leads keep it accessible and commercially appealing. Both are valid — they just don’t create the same kind of work.
So for me, it’s not a surface-level observation, but a discussion about how casting, writing, and audience expectations interact in K-dramas — especially when the female lead is written with such strength and authority.
2 
1 
1 
1 
It’s worth noting that here the roles were reversed: usually it’s young mothers who don’t have time to take care of themselves, exhausted from juggling work, household chores, and children… while the husband comes home from work looking flawless, socializing only with equally flawless people. Meanwhile, when the mother comes home, she’s no longer that perfect little doll. Times are changing.
But the girl is kind-hearted: her desire to take care of the child despite her own struggles is a good thing. It’s better than leaving a child in an orphanage or somewhere else… Sometimes that kind of responsibility forces us to grow up and become more mature. We’re not always born responsible parents — that’s something we also have to learn.
What I really didn’t like is that she stood him up at the last minute, showing her unreliability of character, whereas the male lead is usually very dependable — when he commits to something, he does it; otherwise, he doesn’t take it on at all. I understand that this can happen to anyone, but she could at least have told her boss the truth at that moment and done something, especially since it was for the boy’s career.
In reality, in many couples with children there’s always this imbalance: one person puts the child first and tries to juggle everything with their career, while the other prioritizes their career, knowing the other one will somehow manage anyway. I’m not generalizing, of course, but still…
The two brothers will finally find some common ground, the minister will die along with his son, and as a result, SML will either die too or end up in a well-placed position in the palace
That said, I find the story initially presented between Im Jar I and the heroine quite refreshing as a main plot (let me explain: especially this social class dynamic in a historical context, the fact that she was married into his household, that neither of them comes from a noble lineage, that one is ambitious from the start and the other altruistic, etc.).
However, the fact that it remains in a love triangle makes it too predictable: the second male lead will, in the best case, end up sacrificing himself for the female lead, or it will be some other banal version of the second lead that we’ve already seen. I’m saying all this lightly and without pretension, since the series isn’t finished yet—we might still see a surprising twist in the writing.
Below, I wrote some possible endings from my perspective… I’m not looking for anything; I’m just analyzing what I’m watching. This doesn’t prevent me from watching the series with interest
Honestly, that’s an insanely tough job, with the endless flood of scripts and how often they’re churned out. Analyzing one thing, creating something new is a whole other beast… but without analyzing, there’s zero chance of creating anything at all.
However, my gut feeling tells me the couple will probably choose freedom outside the palace, closer to the people… Let’s meet again at the end to see which version gets validated — or whether they come up with yet another one we didn’t even think of.
The real question here is the king… Will he be able to get his life back on track, or is he going to self-destruct?
He doesn’t really have a proper redemption arc, because most of his “issues” were more about his status and his relationship with his brother — especially the whole “go live your life incognito so no one even notices you exist” situation.
As for the anti-hero angle… if I want to emotionally flourish with anti-heroes, I’ll go watch Raging Bull by Scorsese, or A Streetcar Named Desire, etc., etc. — the list is endless 😉 Not a random miniseries.
My point was mainly that the initial concept of this project — and the casting of this actor — were absolutely perfect for developing something deeper in that direction, instead of going down the super predictable path we all know by heart, the one that doesn’t bring much substance.
The writer and the director had all the ingredients in their fridge to cook up a true gourmet masterpiece… However, I’ll also take a street-food style pizza — but in that case, please keep either the chicken or the fish, not both. (I’m tired of love triangles.) 😄
However, they could have done it without the prince, right? It’s just the story of these two families...
BUT it’s not just that. I want to say he could perfectly play a psychopath (and by the way, he does it very well), a maniac , anti-hero, hero, … In “Liars in Love” he is so charismatic, with a presence comparable to Ahn Hyo Seop in Business Proposal (I’m speaking only about his role). In the mini-series “How to Trane Your Killer” he shows a completely different, charming character — both in a somewhat warrior-like role and in the skin of a very convincing woman (all done lightly). In “Lighter & Princess ” he plays a secondary “villain,” but his transformation is remarkable.
In the very bizarre mini-series “Gorgeous Dream” he even manages to find the exact way to portray his character — another historical mini-series, but still very different from the roles he has done before.
In short, among everything I’ve watched, there isn’t a single role that’s the same, and every time his performance is spot-on and charming. A versatile actor, I’m now fully following him in hopes he lands interesting projects with good writing, directors, and co-stars… Let’s watch closely and keep our fingers crossed for him.
BUT it’s not just that. I want to say he could perfectly play a psychopath (and by the way, he does it very well), a maniac , anti-hero, hero, … In “Liars in Love” he is so charismatic, with a presence comparable to Ahn Hyo Seop in Business Proposal (I’m speaking only about his role). In the mini-series “How to Trane Your Killer” he shows a completely different, charming character — both in a somewhat warrior-like role and in the skin of a very convincing woman (all done lightly). In “Lighter & Princess ” he plays a secondary “villain,” but his transformation is remarkable.
In the very bizarre mini-series “Gorgeous Dream” he even manages to find the exact way to portray his character — another historical mini-series, but still very different from the roles he has done before.
In short, among everything I’ve watched, there isn’t a single role that’s the same, and every time his performance is spot-on and charming. A versatile actor, I’m now fully following him in hopes he lands interesting projects with good writing, directors, and co-stars… Let’s watch closely and keep our fingers crossed for him.
he is very well written and clearly has strong potential. However, we all know how this usually ends: he will likely be reduced to a standard, two-dimensional secondary character typical of many dramas. And that is a real shame. It feels like a waste to confine such a well-crafted character to this role, standing in the shadow of the prince, when he could easily sustain his own story.
Here, I do not intend to analyze or criticize the prince’s character. He is, in fact, well written and well performed. But imagine the series without the prince ... Imagine a narrative centered on an anti-hero: Im Jae I and Hong Eun Jo, far from the palace, focusing instead on a raw social and psychological confrontation.
We have seen countless “charming princes” before—overused, idealized, almost too gentle and predictable. What could have made this story truly compelling is its moral complexity: an anti-hero who cannot let go of his social status or power, trapped by his family... His frustration is then projected onto someone who mirrors him, yet who dares to assert his position, remain loyal to his principles, and show genuine empathy.
This approach could also have allowed for a passionate love story from the very beginning—something far more cinematic in tone. Frankly, I am tired of love triangles that exist solely to artificially elevate the female lead, when she does not need that validation at all. More often than not, these narrative devices only generate frustration.
A perfect prince is easy to love because he challenges us nothing — he makes us dream, and that appeals to a wide audience.
A complex man, on the other hand, disturbs; he sparks debates, makes you ask why, makes you think. But the purpose of most shows is to switch off your brain — they should never force us to think, to judge, or to question ourselves. Damn. Well, crap!
p.s: That was just a side note, otherwise I like the series :=)
Yi Yeol helps his emperor brother, with the help of Hong Eun Jo, to heal and find the path to redemption, and to return to his people (thus Yi Yeol does not betray his family by allying himself with the revolutionaries). After that, he leaves to live peacefully with Hong Eun Jo somewhere outside the palace. They found a hospital for children and an orphanage.
Im Jae I dies by sacrificing himself to save them.
Version 2 – Fairy tale version 2:
The emperor dies, either from illness or by taking his own life. Yi Yeol becomes emperor, and Hong Eun Jo becomes empress. In fact, she is not her mother’s biological daughter but the daughter of a noblewoman; her status and nobility are restored.
Version 3 – Dramatic version 1:
Yi Yeol becomes emperor because his brother dies, and after the revolution he ascends the throne. However, Gil Don does not want to return to the palace, even though she helps him become emperor. In the end, she chooses the people and dedicates herself to helping them, while he is bound by his duties to the
state. He marries Sin Hae Rim, and they are not truly together.
Im Jae I still dies.
Version 4- Yi Yeol manipulates both the royal court and the revolutionaries.
He becomes emperor. Hong Eun Jo refuses the title of empress and runs an independent medical hospital.
They remain together, but never officially.
Im Jae I becomes Minister of Justice, seeking redemption.
And version 5 Yi Yeol is declared a traitor by the remnants of the court and officially recorded as dead. In reality, he disappears. And with Hong Eun Jo: treating a child in a remote village...
As for Nam Ji Hyun, I also loved her in 100 Days My Prince, and the couple worked very, very well in that role. There are actually some parallels with this role for Nam Ji Hyun ;)
When I mention age or “maturity,” I’m not questioning the coherence of the narrative or implying it’s a mistake. I’m talking about reception and perception, not intention. Of course the youthful aura of the prince can be a conscious narrative and styling choice tied to his status — I don’t deny that at all.
My point is that the writing of the character is emotionally and psychologically very mature, especially when placed next to a strong, adult heroine. That creates an interesting tension: the character thinks and acts like someone older, while the actor’s physical presence and youthful energy sometimes read differently on screen. That gap isn’t a flaw, but it does affect how the relationship is perceived.
That’s why I brought up casting hypotheticals. Not to “fix” anything, but to explore how different choices would shift the drama’s tone, target audience, and critical weight. A more mature male lead would push it toward a heavier, more prestigious drama; younger leads keep it accessible and commercially appealing. Both are valid — they just don’t create the same kind of work.
So for me, it’s not a surface-level observation, but a discussion about how casting, writing, and audience expectations interact in K-dramas — especially when the female lead is written with such strength and authority.